signed CHU TEH-CHUN and Chinese, dated 68 in the lower right
signed CHU TEH-CHUN and Chinese, No.280, dated 1968 on the reverse, framed

Acquired directly from the artist by a Private New York Collector
Acquired by the present owner from the above

Paint cracks and paint loss around the left and right edges of the painting, otherwise Generally in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Chu Teh-Chun was born in 1922 in the province of Jiangsu, China.   He studied at the School of Fine Arts in Hangzhou, where he mastered Chinese traditional style painting.  It wasn't not until 1955 that he decided to travel to💜 France, where he decided to stay and eventually discovered Abstract Art.

Michel Ragon, one of the most influential art critics in the fifties, admired and defined Chu Teh-Chun's work as "Abstract Landscaping." 🧜; He was able to translate mental recollections of natural scenery onto canvases with spontaneity and rhythmic movement.  Harmonious tones were bought together energetically in a chromatic orchestra.  

In Chu Teh-Chun's paintings, a metamorphosis of the cosmos ruled the image. He composes through merging colour planes and lines together.  These techniques are derived from traditional Chinese ink wash techniques, which he had learnt during his younger years.  Colours are applied onto the canvas with a soft Chinese brush and then he merges them as if worꩵking with Chinese ink.  

In both No.280 and No.282, one can see that Chu has generated spacious depths solely through merging colours with each other.  No.280 uses black as the background, creating an indefinite space that seems to travel deep into the painting.  The hint of light comes out of the dark in tints of white and yellow.  A sense of mystery and a feeling of coldness overwhelm the painting.  On the contrary, in No.282, yellow becomes the dominant colour. ♌ Blotches and lines of greens, browns, whites, these all seem to be placed in a spontaneous way, creating a harmonious and warm sensibility as the overall aura of the painting. 

C👍hu Teh-Chun was born in 1922 in the province of Jiangsu, China.   He studied at the School of Fine Arts in Hangzhou, where he mastered Chinese traditional style painting.  It wasn't not until 1955 that he decided to travel to France, where he decided to stay and eventually discovered A൲bstract Art.

 

Michel Ragon, one of the most influential art critics in the fifties, admired and defined Chu Teh-Chun's work as "Abstract Landscaping."  He was able to translate mental recollecti♏ons of natural scenery onto canvases with spontaneity and💝 rhythmic movement.  Harmonious tones were bought together energetically in a chromatic orchestra.  

 

In Ch🔥u Teh-Chun's paintings, a metamorphosis of the cosmos ruled the image. He composes through merging colour planes and lines together.  These techniques are derived from traditional Chinese ink wash techniques, which he had learnt during♔ his younger years.  Colours are applied onto the canvas with a soft Chinese brush and then he merges them as if working with Chinese ink.  

There is no exact definition or a particular title that can dictate what Chu Teh-Chun's paintings represents.  He simply allows the viewers to feel the colour com♈positions as they are being presented.

For example, No.280 presents an impression of an abyss, as if one is standing in a dark tunnel, trying to find its way out, but only struggling to see the end of the tunnel, grasping for air.  No.282 appeaꦜrs to be more optimistic, exuding a relaxing feeling.   One can imagine being in a beautiful farm on a warm Autumn afternoꦏon, inhaling the scent of burnt wood.  Two paintings provoking two very disparate feelings just by virtue the use of colour composition is what exemplifies the essence of Chu Teh-chun's art.